EXLIBRIS  UNIVERSITY  OF  CALIFORNIA 


JOHN  HENRY  NASH 

<8>  SAN  FRANCISCO  <S> 

PRESENTED  TO  THE 

UNIVERSITY  OF  CALIFORNIA 

ROBERT  GORDON  SPROUL,  PRESIDENT. 
<$>    BY~  <«> 

MR.ANDMRS.MILTON  S.RAY 
CECILY,  VIRGINIA  AND  ROSALYN  RAY 

AND  THE 

RAY  OIL  BURNERODMPANY 


SAN  FRANCISCO 
NEWYORK- 


and 


of  (Tontpositiotx 


aul  JUur  ana 
an  %»anri0co 


an6 


of  Composition 


Ouar  to  ~p  Rotogravure  nE6ition 

illustrated  from  'paintings  b?  (BaUn  3. 

h?  Will  3enklns 


an6 

San  Traticisco  an6 


Ohe  initial  intention  of  tfye  publishers  to  present  " 
tftaven"  without  preface,  notes*  or  other  extraneous  mat 
ter  that  might  detract  from  an  undivided  appreciation  of  the 
poem,  Ijas  been  somewhat  modified  bv  tl>e  introduction  of 
"jpoe's  prose  essay,  "  Ofye  ";pl)llosopl)y  of  Composition/' 
^f  an?  justification  were  necessary,  it  is  to  be  found  botl) 
In  the  unique  literary  interest  of  the  essay,  and  in  the  fact 
tl)at  it  is  (or  purports  to  be)  a  frank  exposition  of  tbe 
modus  operandl  by  which  "  ^?lje  31aven  '*  was  written.  3t 
Is  felt  that  no  other  introduction  could  be  more  Ijapplly  con 
ceived  or  executed,  doming  from  "Jloe's  own  ban&,  It  directly 
avoids  the  charge  of  presumption;  and  written  in  poe's 
most  felicitous  style,  It  entirely  escapes  tfye  defect  —  not 
uncommon  In  analytical  treatises  —  of  pedantry. 

3t  Is  Indeed  possible,  as  some  critics  assert,  that  this 
supposed  analysis  Is  purely  fictitious.  3f  so.  It  becomes 
all  the  more  distinctive  as  a  marvelous  bit  of  Imaginative 
writing,  and  as  such  ranks  equally  with  that  wild  snatch  of 
melody,  "  "C?l)e  3\aven."  t&ut  tfyese  same  critics  would  lead 
us  furtber  to  believe  t^at  ""£>!)*  tftaven"  itself  is  almost 
a  literal  translation  of  the  work  of  a  "Persian  poet.  3f 
they  be  again  correct,  poe's  genius  as  seen  in  the  creation 
of  ""Dfye^pbllosopby  of  Composition"  Is  far  more  start 
ling  tljan  it  l)as  otherwise  appeared :  and  "  robbed  of  l)i*  bay 
leaves  in  tl>e  realm  of  poetry,"  l)e  is  to  be  "  crowned  wlt^  a 
double  wreatl)  of  berried  Ijolly  for  ^l*  prose." 


of  (Tontposition 


of  Composition 

(Tharles  Sickens,  lit  a  note  now  l?ing  before  me,  alluding  to 
an  examination  U  once  made  of  the  mechanism  of  "Siarnab? 
kludge,"  sa?s — "  *&?  tlje  wa?,  are  YOU  aware  tljat  <&odwin  wrote 
tyis  '(taleb  Williams'  backwards?  Tfe  first  involved  l)is  fyero  in 
a  web  of  difficulties,  forming  tl>e  second  volume,  and  fyen,  for 
tl)e  first,  cast  about  him  for  some  mode  of  accounting  for  wfyat 
t)a6  been  done," 

H  cannot  think  tfyis  tfye  precise  mode  of  procedure  on  the 
part  of  (Bodwin — and  indeed  what  l)e  ^imself  acknowledges,  is 
not  altogether  in  accordance  witl)  5ttr,  "Dickens'  idea — but  tfye 
author  of  "Caleb  Williams"  was  too  good  an  artist  not  to  per 
ceive  tfye  advantage  derivable  from  at  least  a  somewhat  similar 
process.  Nothing  is  more  clear  tl)an  t^at  ever^  plot,  wortl)  t^e 
name,  must  be  elaborated  to  its  denouement  before  an?tl)ing  be 
attempted  with  the  pen,  Ut  is  onl?  with  the  denouement  con 
stantly  in  view  tfyat  we  can  give  a  plot  its  indispensable  air  of  con 
sequence,  or  causation,  bv  making  the  incidents,  and  especially 
the  tone  at  all  points,  tend  to  the  development  of  the  intention. 

'Gfyere  is  a  radical  error,  3  tl)ink,  in  tfye  usual  mode  of  con 
structing  a  stor?.  titter  ^istor?  affords  a  thesis — or  one  is 
suggested  b?  an  incident  of  tl)e  da? — or,  at  best,  tfye  author 


sets  fyimself  to  work  in  the  combination  of  striking  events  to 
form  merely  tfye  basis  of  fyis  narrative — designing,  generally, 
to  fill  in  witt)  description,  dialogue,  or  autorial  comment,  wfyat- 
ever  crevices  of  fact,  or  action,  ma?,  from  page  to  page,  render 
themselves  apparent* 

3  prefer  commencing  with  the  consideration  of  an  effect* 
keeping  originality  always  in  view — for  tje  is  false  to  himself 
wfyo  ventures  to  dispense  witfy  so  obvious  and  so  easily  attain 
able  a  source  of  interest — H  say  to  myself,  in  tfye  first  place, 
"  Of  tfye  innumerable  effects,  or  impressions,  of  wfyicfy  tl)e  heart, 
the  intellect,  or  (more  generally)  the  soul  is  susceptible,  what 
one  $  hall  DL  on  the  present  occasion,  select?'  Tfaving  chosen 
a  novel,  first,  and  secondly  a  vivid  effect,  ~3  consider  whether 
it  can  be  best  wrought  by  incident  or  tone — wfyetfyer  by  ordinary 
incidents  and  peculiar  tone,  or  the  converse,  or  by  peculiarity 
botfy  of  incident  and  tone — afterward  looking  about  me  (or 
rather  within )  for  such  combinations  of  event,  or  tone,  as  shall 
best  aid  me  in  the  construction  of  the  effect. 

*3  have  often  though*  bow  interesting  a  magazine  paper  might 
be  written  by  any  author  wfyo  would —  tfyat  is  to  say  wfyo  could — 
detail,  step  by  step,  the  processes  by  which  any  one  of  his  com 
positions  attained  its  ultimate  point  of  completion.  Wh?  such 
a  paper  fyas  never  been  given  to  tfye  world,  *3  am  much  at  a  loss 
to  say — but,  perfyaps,  the  autorial  vanity  has  had  more  to  do 
witl)  tfye  omission  tfyan  any  one  other  cause.  32tost  writers — 
poets  in  especial — prefer  having  it  understood  tfyat  tfyey  com 
pose  by  a  species  of  fine  pfyrensy — an  ecstatic  intuition — and 
would  positively  sfyudder  at  letting  the  public  take  a  peep  behind 
the  scenes,  at  the  elaborate  and  vacillating  crudities  of  thought  — 


at  tlje  true  purposes  seized  only  at  tfye  last  moment — at  tfye 
innumerable  glimpses  of  idea  tl)at  arrived  not  at  tfye  maturity  of 
full  view — at  tlje  fully  matured  fancies  discarded  in  despair  as 
unmanageable — at  tfye  cautious  selections  and  rejections — at 
tl>e  painful  erasures  and  interpolations  —  in  a  word,  at  tfye 
wheels  and  pinions  —  tlje  tackle  for  scene-shifting  —  tlje  step- 
ladders  and  demon-traps — tfye  cock's  feathers,  tlje  red  paint 
and  tfye  black  patches,  wljicl),  in  ninety-nine  cases  out  of  tfye 
hundred,  constitute  tlje  properties  of  tfye  literary  fyistrio. 

"3  am  aware,  on  the  other  l)and,  that  the  case  is  by  no  means 
common,  in  which  an  author  is  at  all  in  condition  to  retrace  the 
steps  by  which  his  conclusions  have  been  attained.  If n  general* 
suggestions,  having  arisen  pell-mell,  are  pursued  and  forgotten 
in  a  similar  manner. 

"Tor  my  own  part,  "3  fyave  neither  sympathy  witl)  tl)e  repug 
nance  alluded  to,  nor  at  any  time  the  least  difficulty  in  recall 
ing  to  mind  the  progressive  steps  of  any  of  my  compositions; 
and,  since  the  interest  of  an  analysis,  or  reconstruction,  such 
as  H  have  considered  a  desideratum,  is  quite  independent  of  any 
real  or  fancied  interest  in  tfye  tfying  analyzed,  it  will  not  be  re 
garded  as  a  breach  of  decorum  on  my  part  to  show  the  modus 
operandi  by  which  some  one  of  my  own  works  was  put  together. 
"3  select  "^>l)e  3\aven,"  as  most  generally  known.  Ut  is  my 
design  to  render  it  manifest  that  no  one  point  in  its  composition 
is  referable  either  to  accident  or  intuition — tfyat  tlje  work  pro 
ceeded,  step  by  step,  to  its  completion  with  the  precision  and 
rigid  consequence  of  a  mathematical  problem. 

TLet  us  dismiss,  as  irrelevant  to  tlje  poem,  per  se,  tfye  cir 
cumstance — or  say  tfye  necessity — which,  in  tfye  first  place. 


gave  rise  to  the  intention  of  composing  a  poem  that  should  suit 
at  once  the  popular  an6  the  critical  taste. 

commence*  then,  with  tl)is  intention* 
initial  consideration  was  that  of  extent.  *3f  any  literary 
work  is  too  long  to  be  read  at  one  sitting,  we  must  be  content 
to  dispense  witl)  the  immensely  important  effect  derivable  from 
unity  of  impression — for,  if  two  sittings  be  required,  the  affairs 
of  the  world  interfere,  and  everything  like  totality  is  at  once 
destroyed.  3Jut  since,  ceteris  paribus,  no  poet  can  afford  to 
dispense  witl)  anything  that  may  advance  fyis  design,  it  but  re 
mains  to  be  seen  whether  there  is,  in  extent,  any  advantage  to 
counterbalance  the  loss  of  unity  which  attends  it.  Tfere  3  say 
5to,  at  once.  What  we  term  a  long  poem  is,  in  fact,  merely  a 
succession  of  brief  ones  —  that  is  to  say,  of  brief  poetical  effects. 
1ft  is  needless  to  demonstrate  that  a  poem  is  such*  only  inas- 
mucl)  as  it  intensely  excites,  by  elevating,  the  soul;  and  all  in 
tense  excitements  are,  through  a  psycljal  necessity,  brief.  Tor 
tljis  reason,  at  least  one-fyalf  of  tlje  "  "paradise  TCost "  is  essen 
tially  prose — a  succession  of  poetical  excitements  interspersed, 
inevitably,  witl)  corresponding  depressions  —  tfye  whole  being 
deprived,  through  the  extremeness  of  its  length*  of  the  vastly 
important  artistic  element,  totality,  or  unity,  of  effect. 

"3t  appears  evident,  then,  that  there  is  a  distinct  limit,  as 
regards  length*  to  all  works  of  literary  art  —  the  limit  of  a 
single  sitting — and  that,  although  in  certain  classes  of  prose 
composition,  such  as  "Robinson  Crusoe*'  (demanding  no 
unity),  this  limit  may  be  advantageously  overpassed,  it  can 
never  properly  be  overpassed  in  a  poem.  Within  this  limit,  the 
extent  of  a  poem  may  be  made  to  bear  mathematical  relation  to 


its  merit — in  ottyer  words,  to  tfye  excitement  or  elevation — 
again,  in  otl)er  words,  to  tfye  degree  of  tfye  true  poetical  effect 
wfyicl)  it  is  capable  of  inducing;  for  it  is  clear  tfyat  tfye  brevity 
must  be  in  direct  ratio  to  tfye  intensity  of  tfye  intended  effect:  — 
tfyis,  witl)  one  proviso  —  ttyat  a  certain  degree  of  duration  is  ab- 
solutelv  requisite  for  tfye  production  of  anv  effect  at  all. 

^folding  in  view  tl)ese  considerations,  as  well  as  tfyat  degree 
of  excitement  wfyicl)  "3  deemed  not  above  tfye  popular,  wfyile  not 
below  tl)e  critical,  taste,  *3  reached  at  once  wfyat  ~3  conceived 
tfye  proper  lengtl)  for  mv  intended  poem — a  lengtl)  of  about  one 
Hundred  lines.  "3t  is,  in  fact,  a  fyundred  and  eigl)t. 

y&v  next  thought  concerned  the  choice  of  an  impression,  or 
effect,  to  be  convened :  and  fyere  "3  mav  as  well  observe  tl)at, 
throughout  ti)e  construction,  3  Kept  steadily  in  view  the  design 
of  rendering  the  work  universally  appreciable.  II  should  be  car 
ried  too  far  out  of  m?  immediate  topic  were  "3  to  demonstrate  a 
point  upon  which  3  have  repeatedly  insisted,  and  which,  with  the 
poetical,  stands  not  in  tfye  slightest  need  of  demonstration — 
tfye  point,  *3  mean,  tfyat  ^fteautv  is  tfye  sole  legitimate  province 
of  tfye  poem.  ^&  few  words,  tyowever,  in  elucidation  of  m?  real 
meaning,  which  some  of  m?  friends  ^ave  evinced  a  disposition 
to  misrepresent.  ^l)at  pleasure  wl)icl)  is  at  once  tfye  most  in 
tense,  tl)e  most  elevating,  and  tfye  most  pure,  is,  "3  believe,  found 
in  tl)e  contemplation  of  t^e  beautiful.  Wljen,  indeed,  men  speak 
of  3&eaut?,  t^e^  mean,  precisely,  not  a  qualitv,  as  is  supposed, 
but  an  effect:  fyev  refer,  in  sljort,  just  to  fyat  intense  and 
pure  elevation  of  soul — not  of  intellect,  or  of  fyeart — upon 
wfyicl)!!  l)ave  commented,  and  wl)icl)  is  experienced  in  conse 
quence  of  contemplating  4¥t^e  beautiful/'  2low  ^3  designate 


as  the  province  of  the  poem,  merely  because  it  is  an 
obvious  rule  of  "3Vrt  tljat  effects  should  be  made  to  sp ring  from 
direct  causes — tfyat  objects  should  be  attained  tfyrougl)  means 
best  adapted  for  tljeir  attainment — no  one  as  ?et  paving  been 
weak  enough  to  deny  tl)at  tlje  peculiar  elevation  alluded  to  is 
most  readil?  attained  in  the  poem*  Mow  tl>e  object,  Crutl),  or 
the  satisfaction  of  tl>e  intellect,  and  tl)e  object,  'passion,  or  the 
excitement  of  tl)e  l)eart,  are,  although  attainable,  to  a  certain 
extent,  in  poetry,  far  more  readily  attainable  in  prose,  ^rutl), 
in  fact,  demands  a  precision,  and  "passion  a  Comeliness  (tfye 
trul?  passionate  will  comprehend  me)  which  are  absolutely  an* 
tagonistic  to  tfyat  Beauty  which-  H  maintain,  is  the  excitement, 
or  pleasurable  elevation,  of  the  soul.  *3t  bv  no  means  follows 
from  an?tl)ing  ^ere  said,  t^at  ^passion,  or  even  ^rutl),  ma^  not 
be  introduced,  and  even  profitably  introduced,  into  a  poem — for 
tt>e?  ma?  serve  in  elucidation,  or  aid  tt)e  general  effect,  as  do 
discords  in  music,  by  contrast  —  but  tfye  true  artist  will  always 
contrive,  first,  to  tone  tfyem  into  proper  subservience  to  tlje  pre 
dominant  aim,  and,  secondly,  to  enveil  ttjem,  as  far  as  possible, 
in  tt)at  ^eautv  wl)icb  is  the  atmosphere  and  the  essence  of  the 
poem. 

5\e3arding,  t^en,  i&eaut?  as  m?  province,  my  next  question 
referred  to  tfye  tone  of  its  l)igl)est  manifestation — and  all  ex 
perience  fyas  s^own  tfyat  t^is  tone  is  one  of  sadness,  ^fceaut? 
of  whatever  kind,  in  its  supreme  development,  invariably  excites 
the  sensitive  soul  to  tears.  5tlelancholv  is  thus  the  most  legi 
timate  of  all  the  poetical  tones. 

Ohe  lengtt),  the  province,  and  the  tone,  being  thus  deter 
mined,  3  betook  myself  to  ordinary  induction,  wit!)  tl>e  view  of 


obtaining  some  artistic  piquancy  which  might  serve  me  as  a  Key 
note  in  tlje  construction  of  tfye  poem — some  pivot  upon  which 
tlje  wljole  structure  might  turn.  "3fn  carefully  thinking  over  all 
tlje  usual  artistic  effects — or  more  properly  points,  in  tlje  tlje- 
atrical  sense — *3  did  not  fail  to  perceive  immediately  tljat  no 
one  Ijad  been  so  universally  employed  as  tl)at  of  tlje  refrain. 
^>l)e  universality  of  its  employment  sufficed  to  assure  me  of  its 
intrinsic  value,  and  spared  me  the  necessity  of  submitting  it  to 
analysis.  "3  considered  it,  Ijowever,  witlj  regard  to  its  suscepti 
bility  of  improvement,  and  soon  saw  it  to  be  in  a  primitive  con 
dition.  *3Vs  commonly  used,  tlje  refrain,  or  burden,  not  only  is 
limited  to  lyric  verse,  but  depends  for  its  impression  upon  the 
force  of  monotone — botl)  in  sound  and  thought.  Clje  pleasure 
is  deduced  solely  from  tfye  sense  of  identity — of  repetition.  "3 
resolved  to  diversify,  and  so  Ijeigljten,  tlje  effect,  by  adhering, 
in  general,  to  the  monotone  of  sound,  while  U  continually  varied 
that  of  thought:  that  is  to  say.U  determined  to  produce  con 
tinuously  novel  effects,  by  tlje  variation  of  the  application  of  the 
refrain — tlje  refrain  itself  remaining,  for  tlje  most  part,  un 
varied. 

Obese  points  being  settled,  ~3  next  bethought  me  of  the  na 
ture  of  my  refrain.  Since  its  application  was  to  be  repeatedly 
varied,  it  was  clear  tljat  tlje  refrain  itself  must  be  brief,  for 
t^ere  would  Ijave  been  an  insurmountable  difficulty  in  frequent 
variations  of  application  in  any  sentence  of  length.  *3n  propor 
tion  to  the  brevity  of  the  sentence,  would,  of  course,  be  the 
facility  of  tlje  variation.  Cljis  led  me  at  once  to  a  single  word 
as  tlje  best  refrain. 

question  now  arose  as  to  tlje  character  of  tlje  word. 


Tfaving  made  up  my  mind  to  a  refrain,  tlje  division  of  tlje  poem 
into  stanzas  was,  of  course,  a  corollary*  tl>e  refrain  forming 
U)e  close  of  eacl)  stanza.  C^at  sucl)  a  close,  to  l>ave  force, 
must  be  sonorous  and  susceptible  of  protracted  emphasis,  ad 
mitted  no  doubt;  and  fyese  considerations  inevitably  led  me  to 
tfye  long  "o"  as  tlje  most  sonorous  vowel,  in  connection  witl) 
"r"  as  fye  most  producible  consonant. 

Clje  sound  of  tlje  refrain  being  tljus  determined,  it  became 
necessary  to  select  a  word  embodying  tl)is  sound,  and  at  tfye 
same  time  in  tl)e  fullest  possible  Keeping  witl)  tfyat  melancholy 
wljic^H  Ijad  predetermined  as  tlje  tone  of  tlje  poem,  ~3n  sue!) 
a  searc^  it  would  Ijave  been  absolutely  impossible  to  overlook 
tl)e  word  "Stevermore."  ^3n  fact,  it  was  tlje  very  first  w^ic^ 
presented  itself. 

"Dl)e  next  desideratum  was  a  pretext  for  tfye  continuous 
use  of  tfye  one  word  "Mevermore."  "3n  observing  tl>e  difficulty 
wl)icl)  "3  at  once  found  in  inventing  a  sufficiently  plausible  rea 
son  for  its  continuous  repetition,  "3  did  not  fail  to  perceive  tljat 
tfyis  difficulty  arose  solely  from  fye  pre-assumption  tfyat  tfye  word 
was  to  be  so  continuously  or  monotonously  spoken  by  a  human 
being — *3  did  not  fail  to  perceive,  in  sljort,  fyat  fye  difficulty 
lay  in  the  reconciliation  of  tl)is  monotony  with  the  exercise  of 
reason  on  tlje  part  of  tfye  creature  repeating  tfye  word.  3fere, 
tl>en,  immediately  arose  the  idea  of  a  non-reasoning  creature 
capable  of  speecl);  and,  very  naturally,  a  parrot,  in  tl)e  first 
instance,  suggested  itself,  but  was  superseded  fortfywitl)  by  a 
3\aven,  as  equally  capable  of  speech*  and  infinitely  more  in 
keeping  with  the  intended  tone. 

3  l>ad  now  gone  so  far  as  tl)e  conception  of  a  3\aven — tfye 


bir6  of  ill  omen — monotonously  repeating  tfye  one  word,  "3tev- 
ermore,"  at  tl)e  conclusion  of  eacl)  stanza,  in  a  poem  of  melan- 
cfyoly  tone,  and  in  length  about  one  fyundred  lines.  5tow,  never 
losing  sigfyt  of  tfye  object  supremeness,  or  perfection,  at  all 
points,  "3  asked  myself — "Of  all  melancholy  topics,  wtyat,  ac 
cording  to  tfye  universal  understanding  of  mankind,  is  tfye  most 
melancholy?"  IDeatl) — was  tfye  obvious  reply.  ""^Vnd  wfyen," 
3  said,  "is  tfyis  most  melancfyoly  of  topics  most  poetical?" 
TFrom  wfyat  *3  fyave  already  explained  at  some  lengtfy,  tfye  answer, 
fyere  also,  is  obvious — "Wfyen  it  most  closely  allies  itself  to 
i&eauty :  tl>e  deatl),  t^en,  of  a  beautiful  woman  is,  unquestion 
ably,  tl>e  most  poetical  topic  in  tl)e  world — and  equally  is  it  be- 
vond  doubt  tl)at  t^e  lips  best  suited  for  sucl)  topic  are  tfyose  of 
a  bereaved  lover/* 

T  l)ad  now  to  combine  tfye  two  ideas,  of  a  lover  lamenting 
l)is  deceased  mistress  and  a  3\aven  continuously  repeating  the 
word  "Mevermore."  "3  l)ad  to  combine  ttyese,  bearing  in  mind 
mv  design  of  varving,  at  ever?  turn,  tlje  application  of  tfye  word 
repeated;  but  tbe  onl^  intelligible  mode  of  sucl)  combination  is 
t^at  of  imagining  tfye  3\aven  employing  tl>e  word  in  answer  to 
tl)e  queries  of  tfye  lover.  *3Vnd  tyere  it  was  t^at"3  saw  at  once 
tfye  opportunity  afforded  for  tfye  effect  on  wl)ic^  "3  Ijad  been  de 
pending —  tl>at  is  to  say,  tfye  effect  of  t^e  variation  of  applica 
tion.  "3  saw  ttyat  "3  could  make  t^e  first  quer?  propounded  bv 
tl>e  lover — tfye  first  query  to  wl)icl)  t^e  !J\aven  should  reply 
"Nevermore" — t^at"3  could  make  tt)is  first  query  a  common 
place  one — tfye  second  less  so — tl>e  tl)ird  still  less,  and  so  on, 
until  at  lengtl)  tfye  lover — startled  from  l)is  original  nonchalance 
by  tl)e  melancholy  character  of  tl)e  word  itself,  by  its  frequent 


repetition,  an6  by  a  consideration  of  tfye  ominous  reputation 
of  tfye  fowl  tfyat  uttered  it  —  is  at  length  excited  to  superstition, 
and  wildly  propounds  queries  of  a  far  different  character  — 
queries  wfyose  solution  l)e  fyas  passionately  at  fyeart  —  propounds 
them  half  in  superstition  and  half  in  that  species  of  despair 
wfyicl)  delights  in  self-torture  —  propounds  tfyem  not  altogether 
because  he  believes  in  the  prophetic  or  demoniac  character  of 
tye  bird  (wl)icl),  reason  assures  fyim,  is  merely  repeating  a  les 
son  learned  by  rote)  but  because  l)e  experiences  a  phrenzieo 
pleasure  in  so  modeling  l)is  questions  as  to  receive  from  tfye 
expected  "5levermore,"  tfye  most  delicious  because  tfye  most 
intolerable  of  sorrow,  "perceiving  tfye  opportunity  tfyus  afforded 
me  —  or,  more  strictly,  tfyus  forced  upon  me  in  tlje  progress  of 
tl>e  construction  —  "3  first  established  in  mind  tfye  climax,  or 
concluding  query  —  tfyat  query  to  wfyic!)  "Mevermore"  should 
be  in  fye  last  place  an  answer  —  tfyat  in  reply  to  wljicl)  t^is  word 
"Mevermore"  should  involve  tl)e  utmost  conceivable  amount  of 
sorrow  and  despair. 

3fere,  tfyen,  tl>e  poem  may  be  said  to  fyave  its  beginning  —  at 
tfye  end,  w^ere  all  works  of  art  should  begin  —  for  it  was  Ijere, 
at  tl)is  point  of  my  preconsiderations,  tljat  "3  first  put  pen  to 
paper  in  the  composition  of  the  stanza: 


said  3,  "  tying  of  evil  !—  prophet  still,  if  bird  or  devil! 
tfyat  l^eaveit  t^at  bends  above  us  —  by  tfyat  (Bod  we  botl)  adore  — 

soul  witl)  sorrow  laden  if,  within  t^e  distant  ^idenn, 
3t  s^all  clasp  a  sainted  maiden  whom  fye  angels  nameTCenore  — 
Clasp  a  rare  and  radiant  maiden  whom  tye  angels  name  ~Xenore." 
Ouotb  tl>e  Maven,  "  Nevermore." 


~3  composed  tl)is  stanara,  at  tfyis  point,  first  tljat,  by  establish 
ing  tl)e  climax,  "3  might  tye  better  vary  and  graduate,  as  regards 
seriousness  and  importance,  the  preceding  queries  of  the  lover ; 
and,  secondly,  tljat^J  might  definitely  settle  tl?e  rfyytfym,  tfye 
meter,  and  tlje  length  and  general  arrangement  of  tfye  stanza, 
as  well  as  graduate  the  stanzas  which  were  to  precede,  so  that 
none  of  tljem  might  surpass  tfyis  in  rljytljmical  effect.  *3fad  *3 
been  able,  in  the  subsequent  composition,  to  construct  more 
vigorous  stanzas.  3  should,  without  scruple,  have  purposely  en 
feebled  fyem,  so  as  not  to  interfere  witl)  tlje  climacteric  effect. 

^Vnd  l)ere  ~3  may  as  well  say  a  few  words  of  tlje  versifica 
tion*  3tty  first  object  (as  usual)  was  originality*  Ohe  extent 
to  which  this  has  been  neglected,  in  versification,  is  one  of  the 
most  unaccountable  things  in  the  world*  Admitting  that  there 
is  little  possibility  of  variety  in  mere  rfyytljm,  it  is  still  clear 
that  the  possible  varieties  of  meter  and  stanza  are  absolutely 
infinite — and  yet,  for  centuries,  no  man,  in  verse,  fyas  ever 
done,  or  ever  seemed  to  think  of  doing,  an  original  thing.  Ohe 
fact  is,  that  originality  ( unless  in  minds  of  very  unusual  force) 
is  by  no  means  a  matter,  as  some  suppose,  of  impulse  or  intui 
tion*  Un  general,  to  be  found,  it  must  be  elaborately  sought,  and 
although  a  positive  merit  of  the  l)igl)est  class,  demands  in  its 
attainment  less  of  invention  than  negation. 

Of  course,  "3  pretend  to  no  originality  in  either  tl)e  rfyytfynt 
or  meter  of  "I5l)e  3\aven."  Clje  former  is  trochaic — tfye  latter 
is  octameter  acatalectic,  alternating  witl)  l)eptameter  catalectic 
repeated  in  tfye  refrain  of  tfye  fiftl)  verse,  and  terminating  witl) 
tetrameter  catalectic*  TCess  pedantically — tfye  feet  employed 
throughout  ( trochees )  consist  of  a  long  syllable  followed  by  a 


sljort:  fye  first  line  of  tlje  stanza  consists  of  eigl)t  of  tfyese 
feet — tl)e  second  of  seven  and  a  l)alf  (in  effect  two-tl)ir6s)  — 
tlje  tl)ir6  of  eigljt —  tlje  fourfy  of  seven  and  a  l>alf — tlje  fiftl) 
tlje  same — tlje  sixty,  tfyree  an6  a  fyalf.  3tow,  eacl)  of  tyese 
lines,  taken  individually,  Ijas  been  employed  before,  an6  wfyat 
originality  "Clje  3^aven"  Ijas,  is  in  tl)eir  combination  into 
stanza;  nothing  even  remotely  approaching  tl)is  combination 
Ijas  ever  been  attempted.  "C^e  effect  of  tl)is  orlginalitv  of  com 
bination  is  ai6e6  b^  ot^er  unusual  an6  some  altogether  novel 
effects,  arising  from  an  extension  of  tlje  application  of  tfye 
principles  of  rfyvme  and  alliteration* 

^l)e  next  point  to  be  considered  was  tfye  mode  of  bringing 
together  tlje  lover  and  t^e  5\aven — and  tlje  first  branc^  of  tl)is 
consideration  was  t^e  locale.  Tor  tljis  t^e  most  natural  sug 
gestion  migl)t  seem  to  be  a  forest,  or  tye  fields  —  but  it  Ijas  al- 
wavs  appeared  to  me  tljat  a  close  circumscription  of  space  is 
absolutely  necessarv  to  tlje  effect  of  insulated  incident:  it  fyas 
t^e  force  of  a  frame  to  a  picture.  "3t  fyas  an  indisputable  moral 
power  in  Keeping  concentrated  tlje  attention,  and,  of  course, 
must  not  be  confounded  witl)  mere  unitv  of  place. 

"3  determined,  tljen,  to  place  t^e  lover  in  fyis  chamber — in  a 
chamber  rendered  sacred  to  l)im  bv  memories  of  fyer  w^o  ^ad 
frequented  it.  ^>l)e  room  is  represented  as  ricfylv  furnished  — 
tt)is,  in  mere  pursuance  of  fye  ideas  U  ^ave  alreadv  explained 
on  tlje  subject  of  beautv  as  tfye  sole  true  poetical  thesis. 

^?l)e  locale  being  t^us  determined,  3  fyad  now  to  introduce 
fye  bird — and  t^e  thought  of  introducing  l)im  t^roug^  t^e  win 
dow  was  inevitable.  ^>l>e  idea  of  making  tl)e  lover  suppose,  in 
tlje  first  instance,  tl)at  tl)e  flapping  of  tlje  wings  of  tl)e  bird 


against  tl)e  scatter  is  a  "tapping"  at  tfye  door,  originated  In 
a  wlsl)  to  increase,  b?  prolonging,  tl)e  reader's  curiosity,  an6  in 
a  desire  to  admit  tfye  incidental  effect  arising  from  tfye  lover's 
throwing  open  the  door,  finding  all  dark,  and  thence  adopting 
tfye  fyalf-fanc?  tfyat  it  was  tfye  spirit  of  l)is  mistress  fyat  Knocked, 

T  made  tfye  nigl)t  tempestuous,  first,  to  account  for  tfye 
3\aven's  seeking  admission,  and,  secondly*  for  tfye  effect  of  con 
trast  witl)  tfye  (pl)?sical)  serenity  within  tfye  chamber. 

3  made  tfye  bird  alight  on  tfye  bust  of  "pallas,  also  for  tlje 
effect  of  contrast  between  tfye  marble  and  tl)e  plumage  —  it  be 
ing  understood  tfyat  tfye  bust  was  absolutely  suggested  by  tlje 
bird  —  tlje  bust  of  Dallas  being  chosen,  first,  as  most  in  keep 
ing  witl)  tfye  scholarship  of  tlje  lover,  and,  secondly,  for  tlje 
sonorousness  of  t^e  word,  Dallas,  itself. 

*3Vbout  t^e  middle  of  tye  poem,  also,  3  ^ave  availed  myself 
of  tl>e  force  of  contrast,  witl)  a  view  of  deepening  tlje  ultimate 
impression.  Tor  example,  an  air  of  tfye  fantastic  —  approaching 
as  nearly  to  tlje  ludicrous  as  was  admissible  —  is  given  to  tlje 
5\aven's  entrance.  3fe  comes  in  "witl)  many  a  flirt  and  flutter." 


Mot  tl)£  least  obeisance  made  l)e:  not  a  minute  stopped  or 
staged  b^- 
.  with  mien  of  Ior6  or  lad?,  perched  above  mv  chamber  6oon 


the  two  stanzas  which  follow,  the  design  is  more  ob 
viously  carried  out: 

n.  this  ebon?  bir6  beguiling  m?  sad  fane?  into  smiling, 
t^e  grave  and  stern  decorum  of  tl>e  countenance  it  wore, 

ugb  tb?  crest  be  sljorn  an6  shaven,  tyou,"  3  said,  "  art  sure  no 
craven, 


(Beastly  grim  and  ancient  3\avcn  wandering  from  the  ^tightly  shore  — 
Oell  me  what  thy  loroly  name  is  on  the  3tigl>t's'plutonlan  shore!" 
Quoth  tlje  ^aven,  "  Nevermore." 


marvelled  this  ungainly,  fowl  to  hear  discourse  so  plainly, 
o  hough  its  answer  little  meaning  —  little  relevancy  bore; 
-for  we  cannot  help  agreeing  that  no  living  human  being 
~£ver  yet  was  blessed  with  seeing  bird  above  his  chamber  door  — 
or  beast  upon  the  sculptured  bust  above  his  chamber  door, 
sucl>  name  as  "  Nevermore." 


Obe  effect  of  the  denouement  being  thus  provided  for,  If 
immediately  drop  tlje  fantastic  for  a  tone  of  tfye  most  profound 
seriousness  —  this  tone  commencing  in  the  stanza  directly  fol 
lowing  the  one  last  quoted,  with  the  line: 

t&ut  the  3\avcn,  sitting  lonely  on  that  placid  bust  spoke  only,  etc, 

Trom  tfyis  epoch  tlje  lover  no  longer  jests  —  no  longer  sees 
anything  even  of  tfye  fantastic  in  tfye  5\aven's  demeanour.  3fe 
speaks  of  fyim  as  a  "grim,  ungainly,  g^astlv,  gaunt,  and  omi 
nous  bird  of  yore,"  and  feels  tfye  "fiery  eyes'*  burning  into  fyis 
"bosom's  core,"  ^>l)is  revolution  of  thought,  or  fancy,  on  tfye 
lover's  part,  is  intended  to  induce  a  similar  one  on  the  part  of 
tl)e  reader  —  to  bring  tfye  mind  into  a  proper  frame  for  ttye 
denouement  —  wfyicl)  is  now  brought  about  as  rapidly  and  as 
directly  as  possible, 

Witl)  tfye  denouement  proper  —  witl)  fye  haven's  reply, 
"Mevermore,"  to  tfye  lover's  final  demand  if  l)e  s^all  meet  fyis 
mistress  in  another  world  —  fye  poem,  in  its  obvious  phase,  tfyat 
of  a  simple  narrative,  may  be  said  to  have  its  completion.  So 
far,  everything  is  within  tl)e  limits  of  tfye  accountable  —  of  tl>e 


real,  ^\  3\aven,  paving  learned  by  rote  tlje  single  word, "  Clever- 
more/'  and  paving  escaped  from  tfye  custody  of  its  owner,  is 
driven  at  midnight,  through  tfye  violence  of  a  storm,  to  seek 
admission  at  a  window  from  wl)icl)  a  ligfyt  still  gleams, — tfye 
chamber-window  of  a  student,  occupied  fyalf  in  poring  over  a 
volume,  fyalf  in  dreaming  of  a  beloved  mistress  deceased.  Ohe 
casement  being  thrown  open  at  tl)e  fluttering  of  the  bird's  wings, 
tl)e  bird  itself  perches  on  the  most  convenient  seat  out  of  the 
immediate  reach  of  the  student,  w()0,  amused  bv  the  incident  and 
the  oddity  of  the  visitor's  demeanour,  demands  of  it,  in  jest  and 
without  looking  for  a  reply,  its  name.  ^>l)e  3laven,  addressed, 
answers  witl)  its  customary  word,  "  3tevermore,"  a  word  wl)icl) 
finds  immediate  echo  in  the  melancholy.  fyeart  of  the  student, 
who.  giving  utterance  aloud  to  certain  thoughts  suggested  by 
the  occasion,  is  again  startled  by  the  fowl's  repetition  of 
"Stevermore."  ^>l)e  student  now  guesses  tfye  state  of  tfye  case, 
but  is  impelled,  as  3  fyave  before  explained,  by  tlje  human  thirst 
for  self-torture,  and  in  part  by  superstition,  to  propound  such 
queries  to  tl)e  bird  as  will  bring  fyim,  tfye  lover,  tfye  most  of  tfye 
luxury  of  sorrow,  through  fye  anticipated  answer,  "5levermore." 
Witl)  tfye  indulgence,  to  tlje  extreme,  of  tl)is  self-torture,  t^e 
narration,  in  what  3  have  termed  its  first  or  obvious  phase,  has 
a  natural  termination,  and  so  far  tfyere  fyas  been  no  overstep 
ping  of  the  limits  of  the  real. 

3Jut  in  subjects  so  Dandled,  fyowever  skilfully,  or  witl)  l)ow- 
ever  vivid  an  array  of  incident,  tfyere  is  always  a  certain  fyard- 
ness  or  nakedness  which  repels  the  artistical  eye.  Z5wo  things 
are  invariably  required:  first,  some  amount  of  complexity, 
or,  more  properly,  adaptation;  and,  secondly,  some  amount  of 


suggestiveness  —  some  under-current,  tyowever  indefinite,  of 
meaning.  3t  is  ttyis  latter,  in  especial,  wt)icl)  imparts  to  a  work  of 
art  so  mucl)  of  ttyat  richness  (to  borrow  from  colloquy  a  forcible 
term)  wtyicty  we  are  too  fond  of  confounding  witty  ttye  ideal.  "3t 
is  ttye  excess  of  ttye  suggested  meaning  —  it  is  ttye  rendering 
ttyis  ttye  upper  instead  of  ttye  under-current  of  ttye  ttyeme  — 
wtyicty  turns  into  prose  (and  ttyat  of  ttye  very  flattest  Kind)  ttye 
so-called  poetry  of  ttye  so-called  transcendentalists. 

Tfolding  ttyese  opinions,  *3  added  ttye  two  concluding  stanzas 
of  ttye  poem  —  ttyeir  suggestiveness  being  ttyus  made  to  pervade 
all  ttye  narrative  wtyicty  tyas  preceded  ttyem.  Ot)£  under-current 
of  meaning  is  rendered  first  apparent  in  ttye  lines  : 

""Dake  fyy  beak  from  out  my  heart,  and  take  tfyy  form  from  off  my  door!'* 
Quoth  tfje  3\aven,  "  Nevermore." 


will  be  observed  ttyat  ttye  words,  "  from  out  my  tyeart," 
involve  ttye  first  metaptyorical  expression  in  ttye  poem.  Ctye?, 
witty  ttye  answer,  "5tevermore,"  dispose  ttye  mind  to  seek  a 
moral  in  all  ttyat  tyas  been  previously  narrated,  ^tye  reader  be 
gins  now  to  regard  ttye  5\aven  as  emblematical  —  but  it  is  not 
until  ttye  very  last  line  of  ttye  ver?  last  stanza,  ttyat  ttye  intention 
of  making  tyim  emblematical  of  MZournfut  and  Clever-ending 
Remembrance  is  permitted  distinctly  to  be  seen: 


,  never  flitting,  still  is  sitting,  still  is  sitting 
On  tt)e  pallid  bust  of~p  alias  just  above  my  chamber  6oor; 

l)is  eyes  have  all  tl)e  seeming  of  a  demon's  that  Is  dreaming, 
tye  lamp-llg^t  o'er  tym  streaming  throws  t)ls  shadow  on  t^e  floor; 
my  soul  from  out  tl)at  shadow  that  lies  floating  on  tl?e  floor 
Shall  be  lifted  —  nevermore! 


rt.ce  upon  a  midnight 

wl)ile3  ponoerefc,  weak 

an6  wear?, 
Over  man?  a  quaint  an6 

curious  volume  of  forgot 

ten  lore  — 


no66e6,  nearly  nap 
ping,  su66enl?  tbere  came 
a  tapping, 

of  some  one  gently  rap 
ping,  rapping  at  m?  cl)am- 
ber  6oor. 

^is  some  visitor,"  ~3 
muttered,  "tapping  at  m? 
chamber  6oor  — 

Onl?  tl)is  an6  nothing 
more." 


Vl 


I),  distinctly  "3  remember  it 
was  lit  tfye  bleak  Decem 
ber, 

eacl)  separate 
ember  wrought  its 
upon  tbc  floor. 

l^Tf  wished  tl>e 
morrow; — vainly "3  t)a6 
sought  to  borrow 
"3From  m?  books  surcease 
of  sorrow — sorrow  for  tl)e 
lost  TCettore — 

tl)e  rare  ano  ra6iant 
mai6en  wl>om  tt>e  angels 
name  TCenore — 
Blameless  Ijere  for 
evermore. 


;«wu)wntmiin^jr6rfarj,ml)il»  J  JMmtortt.MnJi 


|^trr  manu  a  quaint  ano  curious  (rolurar  of  for- 
gettrtlow- 


.nn 
cunt  a 

some  ant 


some  liisitar,"3muttfrri>,"taj))jim|  at  mu 
rliamkr  boor- 


an6  notjin  morf." 


r  arl)  3fj>aratf  biiinq  rmGrr  utrou^  its 
ugntV  floor. 

uiisl|f6  HF  n»rroui.-(Minlu  J  bail 
jtoiymtttborroui 
j  boq^s  .siirrrnsr  of  jorroiu-sor  r  oin/or 

tfimSpgn- 

or  tl)f  rarr  turi)  raoiant  maiorn  iitliom  ll)r 
nanir       nurr- 

rtir  rmorr. 


n6  the  silken,  sad,  uncertain 
rustling  of  eacl)  purple 
curtain 

I3l)rilled  me — filled  me  with 
fantastic  terrors  never 
felt  before; 

So  t^at  now,  to  still  the  beat 
ing  of  m?  h^art,  ~$  stood 
repeating 

"  '^Hs  some  visitor  entreat 
ing  entrance  at  m?  cham 
ber  door — 

Some  late  visitor  entreating 
entrance  at  m?  chamber 
door; — 

it  is  and  nothing 
more. 


" 


m?  soul  grew 
stronger;  Imitating  fyen 
no  longer, 

Sir,"  sai&3,  "or  3tta6am, 
trul?  ?our  forgiveness  3 
implore  ; 

fye  fact  isU  was  nap 
ping,  and  so  gently  ?ou 
came  rapping, 

so  faintly  ?ou  came 
tapping,  tapping  at  m? 

ooor' 
scarce  was  sure  3 

I)ear6 


opened  wi6e  tl>e  6oor; 
darkness  t^ere  an& 
nothing  more, 


no  tljr  siljim  sail  uncertain  rustling  of 

arfj  jiurjJf  rnrtain 

mr^/ilU  mt  mirt)J'anta;5fir  trrroi? 

rtrrjVlt  before  ; 
tfjat  now.  to  jstill  rlje  bratincq  of  mji  fyrart, 


is  some  6J0itor  rnlrfalinj  rnfranrr  af  HIJI 
rl)iimbt'r  onor- 

larr  W^ifor  rnfrrafliy  rnfranrr  af  mjj 
rUmbcr  ooor; 
it  is  anO  nuflii    mnrr 


wnl^rw  stron^rr;  leafing 
n  no  Io0arr, 

oam.fnilij  yourjforoiftr- 
J[  implore; 
tl)Kjarr  is  J[  was 

jinti  ramr  rnj)j)iiti|, 
Sni)  50  Jainrfu  you  ramr  tabbing,  tabbing  at  11111 

u    lto-'        ^^^        P       »  ti       ''     G  *• 

rljambrr  boor, 
srarrr  tuaa  5unr  J[  Ijrarii  jiou- 

I'^nnl  ttui'if  tljc  Ouor- 
tljrrr  and  no        more. 


into  tfyat  darkness  peer 
ing,  long  3  stood  tfyere 
wondering,  fearing, 
Doubting,  dreaming  dreams 
no  mortal  ever  dared  to 
dream  before; 

tfye  silence  was  un 
broken,  and  tfye  stillness 
gave  no  token, 

tfye  onl?  word  tfyere 
spoken  was  tfye  wfyispered 
word,  "TLenore ! " 

wfyispered,  and  an 
ecfyo  murmured  back  tfye 
word,  "TLenore ! " 

tfyis  and  notfy- 
ing  more. 


ack  into  the  chamber  turn 
ing,  all  my  soul  within  me 
burning, 

Soon  again  3  h^ard  a  tap 
ping  somewhat  louder  than 
before. 

"Surely,"  said*3,  "surely 
that  is  something  at  my 
window  lattice; 

TLet  me  see,  then,  what 
thereat  is,  and  this  mystery 
explore — 

TLet  my  h^art  be  still  a 
moment  and  this  mystery 
explore; — 

s  the  wind  and  noth 
ing  more.' 


ftj>  into  fl)at  Onrjmess  Jirrrinij,  loiuj 
stum)  ttjrrr  numdrrinj|.  /Vnrinif, 
i^j,  iirraminij  dreams  no  mortal  ebrr 
oarro  to  dream  brfor?; 
rl)f  silfnrr  was  uiwqbrn.and  tl)f 

nrw  ff«6r  no  fukn>, 
the  only  word  H)rrr  sbnhni  mns 
utljisprrrd 

Yd.ano  anrno  murtmurrd 
uiord."^fnorr!" 
tliTa  and  nutiiinij  morr. 


into  f  lir  rf)ainlirr  turning,  all  mjj  gotil 
initliin  mr  burning., 

onn  aqain  3  Iward  a  tabbing  snmrthjng 
*^  v  ^^L/     ^  j*  *  '  ^  *-^ 

loudrr  tnan  brforr. 

/'aaid  J[,"3HrfIy.tIjat  is  9omrtt)in^ 

at  mu  utinboiu  lattirr; 
rt  mt  sn,  tytn,  tuljat  tl;rrfat  ij,and 

mjistrrg  r^iloit- 
t  my  lienrt  or  still  n  momrnt  and  tljis 

mystrry  ryblorr;- 


l)ere  3  flung  fye  sput 
ter,  wl)en,  will)  man?  a  flirt 
and  flutter, 

tfyere  stepped  a  stately 
3\aven  of  tfye  saintly  da?s 
of  vore. 

t^e  least  obeisance  made 

;  not  a  minute  stopped 
or  staged  l)e; 

,  witl)  mien  of  lord  or 
lad?,  perched  above 
chamber  door  — 


upon  a  bust  of 
Dallas  just  above  mv 
chamber  door  — 

rcb^»  QB&  ^at,  and 
nothing  more. 


tt)is  ebon?  bird  beguil 
ing  m?  sad  fane?  into 
smiling, 

tl)e  grave  and  stern  de 
corum  of  tfye  countenance 
it  wore, 


crest  be  $l)orn 
an6  shaven,  tljou,"  If  said, 
"art  sure  no  craven, 


grim  an6  ancient 
3\aven  wandering  from 
^tigfytl?  sfyore — 
me  wfyat  fyy  lordly 
name  is  on  tfye 
"Plutonian  s^ore! 
Ouotl)  tl)e 


<« 


^levermore* 


» 


\>tn  hrrrJLflunq  rfc  sbtittrr,  mljrn,  mirij 

nmnji  a  flirt  anUjfhtHrr. 
f  hf  rr  arr^r  0  a  sfaf  rljj  3\afern  of  H)f  saint 
ly  days  of  gorr. 
f  iKast  nbr  isanrr  nuior  hf  :  nor  a  nunulir 

or  srnnr  6 
tit,  itiitl)  mini  n/  lord  of  lm\ii,  Jirrrlirii  abolif 

my  rhamhr  r  Oimr- 

trrlifO  tijjnn  a  btist  of  ®  alias  Jus  I  ado6r 
my  rhambrr  5oor- 
and  saf,  and  nothing  more. 


rhis  rbony  binl  bri|itilini|  nin  sail 
jancjj  into  smilinq, 

and  strm  drrorum  of  tljt 
rqunfrnanrr  it  wore, 

Tf5t  Sf  sfyorn  anb  5l;abrn, 
f(jou,"  J[5aid,"artBarr  no  rralirn, 

rim  and  anrirnt  ifcabrn  tuandrr- 
ing  jVom 
mr  mhat  fhij_lorola  namr  is  on  fjjr 

lutonian  shorr!" 
thf 


ucl)  3  marvelled  tl)is 
ungainly  fowl  to  fyear  dis 
course  so  plainly, 
"C>l)ougl)  its  answer  little 
meaning — little  relevancy 
bore ; 

we  cannot  fyelp  agree 
ing  tljat  no  living  fyumau 
being 

yet  was  blessed  witl) 
seeing  bird  above  l)is 
chamber  door — 

or  beast  upon  t^e 
sculptured  bust  above 
chamber  door, 

sucl)  name  as 
Nevermore." 


ut  tl)e  3\aven,  sitting  lonely 
on  the  placid  bust,  spoke 
only 

one  word,  as  if  t)is 
soul  in  fyat  one  word  fye 
did  outpour. 
otl)in$  further  tfyen  t)e 
uttered — not  a  feather  H)ea 
fluttered — 

scarcely  more  tfyan 
muttered,  ''Ot^er  friends 
l>ave  flown  before — 
On  tfye  morrow  ^e  will  leave 
me,  as  my  t>opes  ^ave 
flown  before," 

n  t^e  bird  said, 
Nevermore." 


urli  J[marhrlr{)  this  ttnjjainlg  fuutl  hi 
lirnr  Oisrottrsr  so  Jjlntnlji, 
it?  misuttT  iittir  nieaninq-liftlr  rrlr- 
6anrg  oow; 
tttf  rnnnut  brl)j  ni|rrrinij  Hj«r  no  littituj 

hunmn  bciiii| 

yrt  tuns  blrssfO  mill)  seeing  birii 
ftbuti?  Ms  rljambrr  iionr- 
or  bwf  tibuo.  tliK  »-ul))turru  bust 
rlmnibrr  door, 


fl)c  Jtidrn,  siftina  (onrly  on 
()liu  irt  bust,  sbo^r  only 
unr  word,  ns  i[  !)b  suul  in  tliat  onr 
moro  hr  did  iiufjjuttt  . 

goring  jfurt^ff  rijrn  |)f  tUfmro;  not  a 
aftyrr  lljrn  Ijr  flutfrrro- 
srarrely  nuirr  rl)«n  nwtrrrrO. 

rnojs 

tl;r  mornmt  Ijr  mil!  itaUtt  mt,  05 
uin  brforf." 


tar  tU6  at  fye  stillness 
broken  by  reply  so  aptly 
spoken, 
"doubtless,"  said~3, 

it  utters  is  its  only  stock 
Jl\     and  store 

<£augt)t  from  some  unt)app2 
master  wl>om  unmerciful 
/^4    disaster 

ollowe6  fast  an&  followed 
/-O^\      faster  till  I)*5  songs  one 

fjVJk     bur6en  bore~ 

tl)e  dirges  of 


^SfSxn     tl^at  melanc^ol?  burden 


JF*& 


•;v^iKH     bore 


Of  'Clever — never 
more. 


fye  3\aven  stilt  beguil 
ing  all  mv  sa6  soul  into 
smiling, 

Straight  If  wheeled  a  cusl)- 
ioneo  seat  in  front  of  bird 
an6  bust  an6  6oor; 

,  upon  t^e  velvet  sink 
ing,  3  betook  mvself  to 
Unking 

anq?  unto  fancv,  thinking 
wljat  tl)is  ominous  bir6  of 
vore — 

t^is  grim,  ungainlv, 
g^astlv,  gaunt,  and  omi 
nous  bir6  of  vore 
Mleant  in  croaking 
"Mevermore." 


tarflrt  at  tlif  stillnrsa  Intern  by  :Tf  filjj  so 
ajitljl  3Ju 

,'  said  J^"talwt  it  attars  »  its 

imlji  aturjj  am)  stnrr 

sumr  itniin^n  nwstrr  uiliom 
tinmrrrifttl 

anrplotari  ^ 
3iuu|3  onr  burOf  n  bnrr- 
ill  tlir  liirif  ra  iif  his  ^ojir  flint  mrltmrljo- 
bttrOrn  bonr 


llif      ntrn  st     't-ti 

^^  •  i        t<« 

until  tnrn  amilinij, 

t!  iih|lit  Jf  tttlirrlfb  a  ntaljiimrrt  drat  in 
j^onTof  bird  and  bust  and  door; 
,  tt|)on  t^r  br!6ff 
tnnsrlf  to  linljini} 

y,  tiding  tuW  tlji 
utuinnua  bird  ii   jiurr- 
tljisjrim. 

and  utninnus  bird  of  11  HIT 
in  croaking.  "' 

-*^>     Q 


r> 


IV 


l)is  "3  sat  engaged  lit  guess 
ing,  but  rto  satiable  ex 
pressing 

U)e  fowl  wfyose  fier? 
e^es  now  burne6  into  m^ 
bosom's  core; 

an6  more"3  sat  divin 
ing,  witt)  m?  t)ea6  at  ease 
reclining 

On  tfye  cushion's  velvet  lin 
ing  t^at  t^e  lamp-lig^t 
gloated  o'er, 

w^ose  velvet  violet  lin 
ing  witl)  t^e  lamp -ligl)t 
gloating  o'er, 

sl)all  press, 
nevermore ! 


,  metfyougtyt,  tfye  air  grew 
denser,  perfumed  from  an 
unseen  censer 
Swung  by  Seraphim  w^ose 
foot- falls  tinkled  on  tt)e 
tufted  floor. 

"3  cried,  "tfyy  (Bod 
lent  tfyee — by  these 
angels  fye  fyatt)  sent  tfyee 
Respite — respite  and  nepen- 
tl)e  from  tl>y  memories  of 
TCenore ; 

Ouaff,  ol)  quaff  tl)is  Kind 
nepenthe  and  forget  tl)is 
lostT^enore!" 

^  t^e  ^\aven, 
Nevermore. 


iinjf.  but  no 
-  ^"^     ajilluWf  ff prr ssina 

-  tbr^/otul  ttibosr  Jlrm  rjjrs  noui  barnri) 
into  my  bosom's  rorr; 
ami  tnarr  J^sat  Oibininij,  mitli  nin 
t;rad  at  raar  rrrlininq 
in  ti}t  rnsljiun's  iirlurt  liniig  that  tbr  lamb- 

iinlit  jlnnti'ii  o'rr, 
,ut  od)09rftrl6rt  liiolrt  lininij  mitl;  tlji- 

sljall  brt«.  al»,  nrurrnwrr! 

,  mftl)ought,  tb,c  air  nmtt  iWnscr,  |jpr- 
friim  an  unarm  rrnarr 

-  e^     /•  /      fmit-fall0 

ifrt  on  rtjr  ttiftri)  floor. 

srnt  rlir. 


jVnm 

nrjjrnH^r  ani  for- 

r! 

r&prmorr. 


saidl,  "thing  of 
evil!  prophet  still,  if  bird 
or  devil!  — 

tempter  sent,  or 

tempest  tossed 
tl)ee  l)ere  ashore, 
esolate  ?et  all  undaunted, 


chanted  — 


I)aunte6 — tell  me  trul?, 
implore — 

"3s  fyere — is  fyere  balm  in 
<Bilea6  ? — tell  me — tell 
me,  3  implore !" 
Ouotl)  t^e  ^\aven, 
4  Nevermore* 


of 

evil  !  prophet  stilt  if  bird 
or  devil!  — 

tfyat  IKeaven  tfyat  bends 
above  us  —  b?  tfyat  <&od  we 
botl)  aoore  — 

tl)is  soul  will)  sorrow 
laden  if,  wiH)in  t^e  distant 


sfyall  clasp  a  sainted 
maiden  wfyom  tlje  angels 
name  HLenore — 
(Hasp  a  rare  and  radiant 
maiden  wfyom  tl)e  angels 


" 


Nevermore. 


" 


if  rMI- 

atill,  Jf  Wrt  or 

rr  ^grm(.Urv  gmt,  or  mbrthrr 
tossrd  ttyrt  brrr  nslmrr. 
[iff  nil  untauntri,  on  this  Orsrrt 
land  fnrhantni- 

rhia  l«mif  b^^orror  Imttntri-trll 
mr  tralg,  T(  imbl»rr~ 
t  hrrr-  ia  thrrr  bain  in 
mr~trll  mr,      im 
tlir 


of  rtril!  jmib^ 
UUf' 
that   nrnfirn  rlmt  brniia  abo6r  us- 

utr  but  b  rtihu  r  - 

thi5  3oul  mitt)  sutroui  ladrn  if,  utitl) 
in  tl'r  distant 

rlrt9|)  a  snintrii  mtiiorn  tubom  tlir 
miijrls  namr^rnuir- 
I  nit  and  raotant  ntoidrn  in  I  torn 
tlir  atwrls  namr 
oth  thf       aftrn.'Jlrrrmurr. 


e  tfyat  word  our  sign  of  part 
ing,  bird  or  fiend ! "  "3 
shrieked,  upstarting — 

"(Bet  fyee  back  into  fye 
tempest  and  tl)e  Might's 
"Plutonian  sfyore! 

TLeave  no  black  plume  as  a 
token  of  tfyat  lie  tl>?  soul 
batl)  spoken! 

TCeave  m^  loneliness  un 
broken! — quit  tl)e  bust 
above  m?  door! 

t^?  beak  from  out 
fyeart,  and  take  tl)v  form 
from  off  m?  door!" 
Guotl)  tl>e  M,aven, 
"Mevermore." 


n6  the  3\aven,  never  flitting, 
still  is  sitting,  still  is  sit 
ting 

On  the  palU6  bust  of  Dallas 
|ust  above  m?  chamber 

IS     6oor; 

\  "^*7V       V    l_*  K  It    wL. 

j    ^r\  tici   ni  <  (>\>(>§   IV1V&  Al     ln(? 

I     w-   mmii       ^^  VIW      +1+^     *L'jr^i&      *fV*T%*     V^VV      V^fw 

V\\i\\  ir      v 

iV  /7     seeming  of  a  oemon  s 

—  '*sJ/i 

tbe  lamp-light  o'er 
him  streaming  throws  his 

on  the  floor; 

_.,„  _ ,.~  ...t  soul  from  out  that 
V/M     shadow  that  lies  floating 
on  the  floor 

be  Iifte6 — never 
more! 


Jumnr  ns  a  tol^fti  of  tijnt 

tir  thti  ?mil  IwJh  s[)iilirn: 


nbobr  inn  Ounr: 

rliy  bra^  ^rom  out  mg  l)f  art,  and 
tiVJjr  tlijj  fnrm  from  of'f  mg  doofl 
)  fl)f  "" 


rlir  ^ndrn,  nrilrr  [lifting,  still  ig  sir- 

tint;.  still  is  sittinq 
n  tlir  finllii)  bust  of  f\  alias  Just  abo6r 

m&  rljambrr  ioor; 
ni»  bis  rurs  lindr  all  fl)r  arrmin^  of'  a 

ilrmnna  ttmt  is  Oratininq, 
nd  tlir  lam()-liql)t  o'rr  l)ini  strrnming 

throuia  liis  almdnut  on  tljr  f  Inor; 
ml  my  suul  from  out  tlmr  .-ihaOiira  tlmt 

lira  flimtini}  on  fhr  flour 
br  rtr 


/   - 


Tfere  ends  CRe  3\aven,  a  poem,  and  ^>l)e~pl)ilosopl)v. 
of  (Tomposition,  a  prose  essa? ;  tRe  poem  and  tRe  essa? 
b?  "Edgar  ^llan  "JJoe,  t^e  photogravure  illustrations 
from  paintings  b?  (Balen  3.  "JJerrett,  t^e  initials  an6 
decorations  b^  Will  Jenkins,  tlje  t^posrapl)^  designed 
bp  3.  If.  Mas!).  Of  t^is  first  Quar to  ~jJ Rotogravure 
£6ition  one  thousand  copies  Rave  been  issued*  printed  on 
^rcRes  Randmade  paper.  "JpublisRed  bY"Paut^toer 
and  (Tompanv  and  done  into  a  book  for  tRem  at  the 
"press,  Stew  j^ork  Cit^.  TFtnisRed  tRis  "CentR 
of  ^ulY*  in  tRe  ^ear  Nineteen  Tfundred  and  Seven 


